In the "Emperor" this apparently unlikely pairing of musical personalities is at its most combustibly spontaneous and convincing. Whether in the virtuoso exuberance of the opening Allegro, elysian spiritual calm of the central slow movement or noble playfulness of the finale, these great artists continually compel one to listen to the music with fresh ears, as though one were experiencing it for the first time. Add to this Zimerman's brilliant, self-directed performances of the first two concertos, recorded shortly after Bernstein's death, and you have a complete cycle . . .

Record Review /
Julian Haylock,
International Record Review (London) / 01. March 2008

Throughout Zimerman's pianism is sovereign, meshing nobility and vision.